What better to close out our month-long horror extravaganza than The Creeps, a film boasting not one, not two, but four classic monsters! Dracula, Frankenstein’s Monster, The Mummy and The Wolfman are back to raise hell, but this time there’s a catch. This being a Charles Band film, the man known for his obsession with little monsters, they’re all played by little people! And in true Full Moon style, The Creeps is also filled to the brim with other assorted weird shit that wouldn’t make it past the brainstorming phase at another studio. The Creeps succeeds in another, more surprisingly way as well. The film pulls directly at my heartstrings, not with its gripping story or its tortured characters, but with its depiction of a video store circa 1997.

Expectations: Moderate. I expect the film to be awful, but the FX to be awesome.

Two years after co-writing Evil Dead 2 with Sam Raimi, Scott Spiegel got his chance at his own full-length feature film. Based on an earlier short of his, Intruder is quite modest in its budget and aspirations, but achieves true terror and suspense. I’m sad that I never happened upon this film before, as it would have easily been a favorite for many years. Up front it’s important to be aware of a couple of things though. On the DVD boxart, Bruce Campbell and Sam Raimi’s names are prominently displayed. Red flags should come up at this, as low-budget trash horror has a knack for playing up the small cameos of big names to trick people into buying or renting. Thankfully, I knew beforehand that Bruce Campbell was only in the final thirty seconds, as this could have been a very different experience if I went in blind.

If I had noticed that this was a Wizard Video release prior to sitting down with it, I might have tempered my moderate expectations a bit. The only release of theirs I’ve reviewed so far was the god-awful trashfest Dreamaniac, so after the opening titles I had flashbacks to the boring mess that was that film. Thankfully, Breeders isn’t quite as bad, but it’s nowhere close to good either.

In what is probably the most impoverished story yet in our horrific October, an alien is under the city raping virgins. That’s literally it. There’s a doctor and a cop trying to figure out what is going on but they don’t have a fucking clue and neither does writer/director Tim Kincaid. After doing some research, I learned that Mr. Kincaid, in addition to directing a couple of science fiction B-Movies, is primarily a homosexual porn director. You never would have guessed it from the footage taken in Breeders though, as it features hands down some of the most gratuitous female nudity of all time. Whenever nudity comes around in any film, I always find myself questioning it and wondering if it is necessary or gratuitous. The debate only raged for about a second on this film, as it is clearly exploitative. Does every girl in the city strip nude when they arrive home? They do in this movie! The film ends with all the nude women writhing in an alien pool of white goo (symbolism?) for about the last five minutes of screen time. No shit.

With The Killer Snakes, Shaw’s go-to sleazemeister, Kuei Chi-Hung, reaches stellar new heights (or lows, depending on how sensitive you are to animal cruelty and wild forays into sexual bondage). No stranger to no-holds-barred subject matter, having made the rounds with women’s prison films (Bamboo House of Dolls), and gross-out experiments in the dark arts (Bewitched and The Boxer’s Omen), Chi-Hung plunges the viewer headfirst into his darkest and most socially unredeeming worldview yet.

The Killer Snakes, despite its disturbing imagery and horrifying ventures into only the most psychologically depraved territories, is probably one of the best non martial arts films to ever make it out of Shaw Studios. Don’t get me wrong, it is not a pleasant experience, and I highly doubt I’ll be popping this one in again anytime soon. But you can’t deny how effective it is in eliciting some pretty heavy reactions from anybody brave enough to dive beneath its unsettling surface.

Holy shit! This is how you do a magic movie! I haven’t seen a lot of films concerning black magic, but I can’t imagine many of them are able to top this absolute tour-de-force of occult cinema. I went in with some fairly tempered expectations, as both Oily Maniac and The Legend of the 7 Golden Vampires were lots of fun in their own ways, but ultimately not all that mind-blowing. Right from the get go you know you’re in for something completely different though, as the first few minutes feature some children uncovering a dead child’s body while playing in the park. The body is taken to the coroner who removes the cause of death, a nine-inch steel spike driven through the child’s skull! Directly before this we get the ominous credit of “Introducing: Renowned Malay Sorcerer Hussin Bin Abu Hassan” and the spooky opening narration on the mysterious nature and uses of witchcraft, leaving the truth of the tale up for the viewer to decide. Oh yes, this is gonna be good.

For my first foray into Shaw Bros. horror, I picked the film poised to unite the two renowned cult studios of Hammer and Shaw in one great grab at the money from both studio’s fans. Honestly, I don’t know how the film’s production came about, who asked who and all that, but I do know this. The Hammer studio was a giant at the time, primarily making lavish Gothic Horror productions on small budgets with great actors. The Shaw studio was also a giant at the time, primarily making lavish Kung Fu epics on small budgets with great actors. Wait a minute… Yes, I’ve always viewed the two studios as brothers from another mother, banging out their brand of films for the huddled masses. The idea of both studios producing one movie may be too much for celluloid to contain. Realistically, the film could never live up to these kinds of expectations though, so I tried to go in with the mentality that team-ups are always less than the sum of their parts.

This story is a rewrite of a Nanyang tall tale. It bears the moral that justice does prevail.

It also bears the moral that sexually frustrated polio victims / oil slick monsters do not take kindly to rapists, rape victims, or loose women wishing to be raped. The Oily Maniac is like a delirious cross between The Toxic Avenger, Death Wish, and Psycho. Danny Lee plays Ah Yung, a man rendered virtually impotent by his exposure to polio years prior. Now hobbling along on crutches, he is rejected by Yue, the woman he had long been carrying a torch for. In classic Shaw Brothers melodramatic fashion, he leaves her home amidst poring rain, turning back to steal one last glance through her window only to find Yue half-naked making love to her virile new partner.

Sent into a rage filled shitstorm, Ah Yung visits his uncle, who is on death row about to be executed the following day. He reveals an awesome back tattoo to Ah Yung, which he demands be copied down on paper, as it is a secret recipe for a spell which can grant superhuman strength. The woefully pathetic Ah Yung figures he has nothing to lose, picks up a pickaxe and begins digging away in the middle of his living room, which was built on a sacred burial ground or something. He proceeds to sit in the large hole, which instantly fills up with oil, transforming him into… The Oily Maniac!